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NABMSA Reviews a Publication of the North American British Music Studies Association NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 6, No. 2 (Fall 2019) Ryan Ross, Editor In this issue: Steve Roud, Folk Song in England • Nicholas Jones, ed., Peter Maxwell Davies, Selected Writings • Katherine Butler and Samantha Bassler, eds., Music, Myth and Story in Medieval and Early Modern Culture • Phillip A. Cooke, The Music of James MacMillan • Deborah Heckert, Composing History: National Identities and the English Masque Revival, 1860-1920 • Berta Joncus, Kitty Clive, or The Fair Songster • David Fallows, Henry V and the Earliest English Carols: 1413-1440 • David Forrest, Quinn Patrick Ankrum, Stacey Jocoy, and Emily Ahrens Yates, eds., Essays on Benjamin Britten from a Centenary Symposium • Julian Hellaby, The Mid-Twentieth-Century Concert Pianist: An English Experience Steve Roud. Folk Song in England, with Music Chapters by Julia Bishop. London: Faber & Faber, 2017. xii, 764 pp. ISBN: 9780571309719 (hardback). Few musical subjects are as contentious as folk song. From its obscure origins in an 18th-century Europe eager to fetishize the “wild” and “unruly” music of putative bards and “minstrels,” to its latter-day reinvention as the populist music of guitar-wielding activists in Greenwich Village, “folk song” has meant many things to many people. Writing on the subject, accordingly, has been anything but uniform, careening like a shuttlecock from one viewpoint to another. In England, opinions about the worth of the “First” Folk Revival (c. 1880-c.1940) have been particularly disputatious. The first generations of critics tended to praise the work of early collectors like Lucy Broadwood, Cecil Sharp and Ralph Vaughan Williams for its pioneering spirit (they were the first to collect songs in the field at all systematically) and for the “scientific rigor” with which they defined folk song as a “thing apart” from commercial popular and classical musics. But a new wave of critics during the “Second” Folk Revival after World War II, and especially since the mid-1970s, negated this judgment almost completely, arguing that the early collectors had fashioned an entirely subjective, and false, view of their subject, twisting the actual record of the people’s music to fit their bourgeois sensibility and authoritarian, class-based political agenda. With Steve Roud’s Folk Song in England, the worm has turned yet again. Or rather, it has gone through the mill of the Hegelian dialectic and emerged on the other side with a quite reasonable synthesis of views that reflects the best from both schools of criticism. Thus does Roud, and his co-author Julia Bishop (who contributes two chapters on the music of folk song), argue for the great achievement of the early collectors—the enormous advance they brought to the study of a NABMSA Reviews Fall 2019 field which, before them, was a sporadic assemblage of antiquarian interests and inquiries—while also acknowledging their shortcomings and blind spots. Among the latter was an undue focus on the tunes, not the texts, of the songs, and an insufficient interest in the singers themselves and the social contexts in which they learned, performed, and transmitted this music. Their romantic view of the “folk” as “primitive” and untainted by the modern world likewise caused them to underestimate the impact of printed sources—broadsides, chapbooks, and other forms of street literature—and of urban performance venues like the 18th-century pleasure garden and the 19th- century musical hall on the origins and evolution of traditional singing and song repertories. And yet, as Roud points out, the early collectors were fundamentally right to look for “tradition” amongst the rural working classes, where people were most likely to make music among themselves without constant resort to print. And the sheer delight they showed in the skill of the best traditional singers (from whom they collected again and again) testifies to their interest in the beauty, and not just the ideological uses, of this music. Not that Roud is concerned only to rehabilitate the early collectors. Rather, his book is a thoroughgoing investigation of “folk song,” in idea and practice, throughout 500 years of English history. If the early collectors naturally come to the fore, this is because it was they who put the subject on the map and laid the foundation for modern study. The book is divided into three large sections. Part I is devoted to the history of folk song scholarship in England from the mid-18th century onward, and traces the move from a purely literary focus on old printed song and ballad texts to a slow recognition of a still-active folk tradition (texts and tunes) worthy of being collected. Here, the infighting among the early collectors, as well as the efforts of post-1945 scholarship to refine and expand their definitions, are duly canvassed and assessed. Part II tests Roud’s assertion that, properly considered, the “folk repertory” consists of far more (and many newer) types of songs than the early collectors allowed. He effects this by surveying various forms of popular music from the 16th to the 20th centuries, noting moments where such music came into contact with and was transformed by the “folk process,” as well as where it was not. Impressive here is the sheer range of topics—everything from the role of the itinerant (and much abused) ballad singer in song dissemination to the astonishing growth of the popular music industry in the 19th and 20th centuries—while the descriptive and especially investigative detail shown specific manuscript sources is striking. The scrutiny is necessary given the opacity of written sources— the only kind we have, after all, at least until the advent of sound recordings—to yield up the secrets of oral musical practice. Part III focuses on the details of the “folk process” itself, touching on street literature, local singing communities and traditions, tune families and melodic variation (contributed by Julia Bishop), as well as on a host of unique song repertories (work, sailor, soldier, dialect, bawdy), each of which is considered separately. I especially appreciated a chapter on religious singing in church, chapel, and home. This is a complex topic—certainly an understudied one—and Roud weaves together Church history, developments in mainstream religious music, and the workings of the folk process to paint a compelling picture of the rich interactions between different levels of society and education. Clearly, Roud knows his subject. He, in fact, is the creator of the “Roud Folk Song Index,” an online database of nearly 25,000 English-language songs collected from oral tradition (the project began in the 1970s and is still expanding). One of the many strengths of the book is the constant reference it makes to specific songs and their variants, all of them searchable using the Index (currently available for free on the website of the Vaughan Williams Memorial Library of the English Folk Dance and Song Society). The sheer volume of the data is remarkable and gives Roud an interpretive advantage over earlier scholars, as when he problematizes recent arguments that the songs sung by hop-pickers in 20th-century Kent and East Sussex expressed a uniform opposition to harsh working conditions. Showing that some of the songs in question are 2 NABMSA Reviews Fall 2019 parodies of jaunty music hall songs, Roud suggests that, for some hop-pickers at least, the song repertory had a more purely recreational and less obviously political purpose, and in fact served to reconcile workers to their situation in what social historians have called a “culture of consolation.” Roud’s corrective is unsurprising given the over-romanticized view of workers’ culture as the scourge of capitalist oppression so often met with in the left-leaning folk song scholarship of the past forty years. But he is no less hesitant to emend questionable right-leaning opinions as well, like those of the First Revival’s collectors whose “folk” idealizations often got mixed up with notions of racial purity and a somewhat chauvinistic promotion of English art music. In short, Roud’s truck is with methodological sloppiness of any sort, whether ideologically motivated or not, and it is no exaggeration to say that, thanks to a superior analysis born of his fabulous Index and a synoptic knowledge of the literature (and not just in folk song studies), he has successfully and improbably imposed a convincing unity on a very convoluted historiography and subject. Add in an exceedingly clear and unfussy prose style and the result is a balanced, comprehensive, and extremely readable study that promises to carry the field for a long time to come. Still, the central feature of the book, Roud’s expanded definition of “folk song,” has the potential to excite controversy. He implies as much in his Afterward (really a kind of Apologia) where he somewhat nervously restates his thesis that a “folk song” is defined less by its age or origin than by the process by which any song, of whatever provenance, enters oral tradition and is transformed over time, acquiring a new shape, a new sound, new performers, and new audiences along the way. His caution is understandable, as the broadening threatens to undermine the very idea of folk music by potentially collapsing the borders between folk, pop, and classical. He need not have worried. He is far from the first to make the claim—Georgina Boyes, Ian Russell, David Atkinson and others in the English folk song world have been moving towards this point for decades—though his is the most comprehensive and authoritative to date. Moreover, the definition, very carefully sculpted and elucidated over nearly 700 pages, keeps the borders well intact, merely suggesting a greater permeability between them.
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